Cinthia Marcelle

Chapter 6 (from the Secession Series: The Tempest)

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Cinthia Marcelle, Chapter 6 (from the Secession Series: The Tempest), 2018, Cretacolour Monlith 6B Graphite pencil, offset 63 gr paper , 33 x 27 cm (each). Art Jameel Collection. Photo courtesy of the artist and Vermelho Gallery.

Artwork Details

Artist

Cinthia Marcelle

Title

Chapter 6 (from the Secession Series: The Tempest)

Date

2014

Medium

Cretacolour Monlith 6B Graphite pencil, offset 63 gr paper

Dimensions

33 x 27 cm (each)

Credit Line

Art Jameel Collection

Artist Biography

Cinthia Marcelle (b.1974) lives and works in Sao Paulo, Brazil.

Cinthia Marcelle is interested in many artistic processes, seeking the raw material of her work in social relations and in the everyday chaos that surrounds her. Working with drawings, collages, photographs, paintings, video and installations, her works reference urban and natural environments, and carry within themselves a temporal character, present in the exploration of repetition and accumulation of waste. Marcelle highlights and disorders things, creating interventions that propose a formal reorganisation of everyday objects and situations.

Cinthia has had recent solo exhibitions at Casa do Bandeirante, Sao Paulo (2018); Parque Lage, Rio de Janeiro (2018); Modern Art Oxford, Oxford (2018); Logan Centre, Chicago (2017); MOMA PS1, New York (2016); and Centro Cultural Banco do Brasil, Rio de Janeiro (2013). Her work has also been included in significant group exhibitions at Museum of the African Diaspora, San Francisco (2019); MAXXI, Rome (2018); Casa Azeitona, Belo Horizonte (2018); Seoul Museum of Art (2017); Thyssen Bornemisza Museum, Madrid (2017), J.Paul Getty Museum, Los Angeles (2016); and Garage Museum of Contemporary Art, Moscow (2015). She participated in the 10th Berlin Biennale (2018) and represented Brazil in the 57th Venice Biennale.

Work Description

Chapter 6 is a set of frottages from an artist book, titled Secession Series: The Tempest, which consists of 21 chapters. The images were made from folded sheets of paper, the same size of the publication pages, creating a kind of book within the book. The book builds a narrative – of this gesture of folding paper, and rubbing graphite over the paper – and a relationship between what is and what is not present –  as frottage, or tracing, depends on a tangible referent. The support medium becomes a motif in its own right, the variations of the folding pattern relate to a poetic narrative whose gentle action derives from the simultaneous presence and absence of what lies underneath.

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